I sang a little while and then flew on.

I’d call this very listenable! Would I use this show to introduce or summarize the Grateful Dead to a new listener like you might with Veneta ‘72 or Cornell ‘77? Probably not, but for conditioned fans with well-trained ears, Santa Monica ‘70 offers a headspace that the afore-mentioned shows simply can’t provide.

There are different schools of thought when it comes to audience tapes, and when it comes to ones like this, there are as many opinions as there are deadheads who’ve listened to the show. From a general standpoint, you’ll find old school cats who love, and sometimes even prefer AUDs, whether because of a lack of SBD alternatives for a specific performance/era (especially ‘67-’70 and ‘80-’83) or a soft spot for the tapers and their signature put-you-right-in-the-room effect. These folks swear by Jim Wise and the Oade brothers of early 80’s fame, as well as Keith Litzenberger’s admirable work from the 90’s. You’ve also got soundboard snobs who seldom stray from the incredible purity of what Bear, Bob Matthews, and Betty Cantor-Jackson captured in the 60’s and 70’s, preferring the professional touch of official releases over anything snagged from the taper’s section.

Personally, I’m a little snobby in that if one is available, I usually go with soundboards for anything from ‘65-’95. Still, with AUDs, there’s a clear correlation between my willingness to listen and how early in the band’s career the show in question occurred. 9/15/67, 5/18/68, and 10/24/69 are damn well in my collection. Going in the forward-facing chronological direction from ‘95, with the right sound and lineup I also greatly enjoy AUDs from the post-Garcia projects as well. Modernized equipment and more experience under the tapers’ belts have made for some excellent captures. I’ll probably pass on a tinny ‘97 RatDog tape, but a rich, fat AUD of Derek Trucks sitting in with the Phil Lesh Quintet at Virginia Beach in August 2001? Sign me the fuck up.

Audience tapes from 1970 are nothing short of an absolute blessing.

Bear’s arrest and brief absence from the scene in 1970 meant that we don’t have SBD recordings of a lot of the shows from that year, and in some cases, no recordings at all. To that end, in my book the fact that this is the only recording of 3/7/70 (or is it 3/9/70, as one attendee insists on dead.net?) means that it shouldn’t automatically lose a star just for being an AUD, especially considering that it’s a very serviceable one. Sure, there’s some hiss, intermittent crowd chatter, splicing, a couple pops, and a cut or two, but each of the instrumentalists stand out, and although muddy, it’s very enjoyable. 11/22/68 is a challenge, but this one is more like 4/24/70 or 8/18/70.

Performance-wise, it’s cracking.

An attendee has mentioned that they opened with Hard to Handle, which is apparently missing. Multiple accounts suggest that there was a decent amount of LSD at play in the audience. I like what a previous reviewer pointed out about the Workingman’s Dead songs - these numbers were still brand new at the time, and the crowd is dead silent during that howling Black Peter guitar solo. Any SoCal tripsters who couldn’t make the Thelma Theater run a few months prior had probably never heard anything like this before. The China > Rider > High Time is equally impressive, with some burning guitar work from Bob Weir lighting up the road to Rider. High Time is one of those Garcia songs that’s difficult to pull off, but beautiful when properly performed. Tunes like Bertha, Friend of the Devil, or Eyes of the World are tough to find a bad version of, just because of their fairly simple and straightforward pace, melodies, and improv-friendly chords. But slow ballads with a lot of vocal range like China Doll, and especially High Time, can be hit or miss, because Jerry and everyone else on stage would have to be locked in, in tune, and committed to the delicacy of the music, intricate crescendos and decrescendos, and poignant lyrics. As with many of the early versions, this High Time is perfectly captivating. The late ‘69/early ‘70 takes on backwoodsy Workingman’s Dead material and twangy covers always seem to hit the mark, which is why it’s such a shame we have just a brief snippet of what must’ve been a great Dire Wolf.

Black Peter, China > Rider > High Time, and Dire Wolf // make up one distinct section of the show, and the // NFA > Drums > Good Lovin’ > The Other One > NFA > Lovelight // sequence makes up the other. That first NFA jam really zips along and definitely hints at something like The Other One, Caution, or a similar vehicle. The way they step into each song of the sequence is incredibly natural and seamless. In every case, the next song’s notes are plucked out of thin air; it’s Phil who punches right through the wall between a rattling Drums and a booming Good Lovin’, and Jerry who rolls Good Lovin’ into a combustible The Other One, without any hesitation (or Cryptical Envelopment). Then it’s back into NFA, and from that into Lovelight. You might not get any organ solos out of Pig in this show, but his vocal showmanship is as apparent as ever. The Lovelight is strong, with plenty of stops, starts, and showboating from McKernan. The tape cuts out at 24+ minutes in - they were still going!

Taped by deadheads for deadheads. Fans of this era who don’t mind cuts and claps will find this blue-collar recording very enjoyable. It’s not a crystal clear Betty Board, but perhaps that’s what makes it special. Very much worth at least a listen, and maybe even its own spot in the stash for when you need a brief 1970 recording that has some real attitude.

Well Heck, I was 15 and it was my first Dead Concert too. Jaarthur deserves credit for mentioning Lydia Pense & Cold Blood. They impressed me & although I could not find any documentation about this, I remember Ms. Pense introducing Les Dudek playing lead using a black Les Paul. He's one of the almost greats who never took off. Since I cannot find him listed on her album credits, I think he must have been sitting in for her regular lead player. If anybody else remembers Les Dudek being there, I would like to know for sure. A few years ago, I was able to talk to Ms. Pense in Ukiah at the City's Summer in the Park concerts--which I highly recommend. She said this show really helped put her on the map. I distinctly remember Casey Jones and Truckin being played. It's not on this tape, but I checked other set lists and Casey Jones is on previous and subsequent sets, but not Truckin until much later. I think it is possible that Casey Jones got left off this recording. Maybe I remember another Working Man's Dead song instead of American Beauty's Truckin. Also, I remember Garcia playing a standard Strat which was very similar to a '64 Strat that I had just bought. I think I am correct because I felt very lucky to be 15 and being able to score this Stratocaster, so I was paying close attention. I checked the history of his guitars and I think I am correct because what I read was that he received a Strat as a gift from Graham Nash. That Strat evolved over time into his Alligator guitar. Another possibility is the strat I saw was the same strat that Garcia uses in the Veneta, Oregon video. I still have my Stratocaster--although it has a lot of history--I don't think it matches up to Garcia's. Last, I had just started smoking weed and I thought I was very cool. That was until I looked around the crowd and noticed some very spacey folks around me.

50 years. You hear of micro-dosing these days, this show is the result of mega. Santa Monica March 1970, some of the best readings from the repertoire, then a 25-min Lovelight. peace2020

The reason it’s so high energy is because the tape pitch is ridiculously sharp, like Alvin and the Chipmuncks level bad. I’m sure the show was awesome but until someone does a pitch correction I can’t really give it a good rating.

this is a chunk of the mother lode. this tape places you right in the room and it's a full-tilt boogie, folks.

yes, you have to deal with a little bit of aud noise, but contrariwise, it's fascinating to hear how both Peter and High Time cause the chatter to end as these people become aware of what they're hearing.

and i can just see their faces at the end of the raging China Rider; pure ecstasy.

oh wait, was he even born yet? I heard John mayer saw this when he was utero and instantly planned for Albany NY cause he grew up there and wanted to egg his neighbors house for something or other from 7th grade yes I read it in an old Bob Weir authored article in the Saturday evening post from may 19, 77.

it's a cloudy recording and it's chopped up, but what a freakin' show!

This is a nice aud. show worth a listen for sure. No the audio isn't great but like other people have said - very listenable.
Also- to the 5/31/09 poster - check out Tristudios. It's Bobby's project and it is free. He is not a money monger. While it is a bit annoying that every good '69-'72 show gets commercially released, there is SO much free content out there to enjoy as well. Im gonna give this show a solid 4 star rating.



~ Let the good times roll

A real gem of a find. Fairly good 1970 audience recording from 1970. Might be my new favorite Black Peter too!

I'm listening to this concert, rated three stars, and remembering the first time I heard a bootleg tape of a Dead concert in 1970, the sense of exhilaration and transcendence that came from listening to the ethereal riffs, the altered state of consciousness inherent in the music. I never thought I would be lucky enough ---actually, blessed enough-- to here anything like it ever again. And now, thanks to this Archive, I come into my office each morning, and pick the earliest concert I can.
I understand that, compared to other recordings, this tape is pretty weak, but let's keep things in perspective. It's a miracle we ever heard the Dead, and an even greater miracle we can still hear them.
Thank G-d for the Dead every day!

This was my first concert I ever went to and it has stuck with me all these years. The openning act was Cold Blood with Lydia Pense and the blues that she belted out set the stage nicely for The Dead. By the time The Grateful Dead had come on stage I was well on my way to electric psychedelia as we had eaten our LSD on the way to the concert. I remember Garcia playing on the left side of the stage and when he sang Black Peter, the emotion and passion was incredible. I remember Bobby had some trouble with his monitor and ended up putting his boot through the speaker and then they brought out a new one for him. It's too bad that there isn't a good solid recording that really shows the power and emotion of this show but I am glad that at least we have this.

just my opinion but if jerry was still alive i think every show would be ready to download if i went out and brought everything they come out with i would be broke u dont need no more money bobby

We are all intimately familiar with the 2-13-70 version. I respectfully submit that this performance lacks some of the wonderful subtlety of that show but makes up for it with sheer balls to the wall intensity. If only a soundboard were surface. That said, you CAN get there from here but it may take more than a bottle of budweiser. Some of the audience reactions themselves have merit. In particular, there is a moment after the first verse of The Other One where the band hits a peak (the ascent starts around 3:55 into the track) and Garcia, at the plateau, riffs out this howling note that a dude in the audience emulates more or less exactly, invoking similar reactions among his "friends" nearby.

Classic.

Deadheads were and always will be freaks of the highest order.

wow, this is only the second AUD i've braved (the other being june 14, 68 @ fillmore east)... but it's amazing! jerry's voice really sounds pretty and the whole show is highly listenable and intense. this actually might be my new favorite "black peter". when the crowd starts screaming at the beginning of "good lovin" i want to jump up and down and scream too...pig steals this show big time. i can't even deduct a star for sound quality...it sounds fine & this is really beautiful stuff!

yes, the section beginning NFA -> Drums really shreds. the band has outrageous energy. the AUD recording, especially during Lovelight, reveals that then as now there were people in the audience who were so dumb (or f**ked up) they thought a GD performance might be a good time to have an inane conversation with their friends. between comments they scream loudly. if I was the taper (trailblazing soul) I would have knocked them unconscious with my gear. still worth hearing, which tells you something about the performance. the drummers are ON!

sound quality not the best, but well worth the listen. Very enjoyable jamming and diverse setlist.

let me start by saying that if there was a sbd of this show in existance, there would probably be about 30 reviews already, probably along the lines of "dude, this show rulez!!!", etc... well, it DOES fucking rule, aside from some obvious sonic limitations... but see, that the thing... it's a goddamn audience tape from 1970! of course it's gonna sound funky... if you can't wrap yr head around looking beyond some pops, crackles, some dudes screaming, clapping, bumped mics and so forth, there are tons o' boards on this here site to stream yr lil' wiener into a knot if you so desire.
oh, the show?... a very nice "black peter" eases you into the action nice and slow, but they kick up the pace big-time by "china > rider"... it's now one of my favorite versions from this year, with an exceptionally hot transition jam... the "high time" is certainly "epic", as an earlier reviewer stated, but it seems like such a tease now that i've listened to this show a bunch of times, because the jams that follow (i'm excluding the virtually non-existant snippet of "dire"...) are definitely the meat of the show. and on this night, the dead came out swingin' some BIG fuckin' meat, if you dig... I really can't say enough about how heavy this all gets... you get dropped right in the middle of an absolutely BLISTERING "not fade away", jerry and phil combining into one vicious, jamming, freaked-out freakatoid. mickey and billy stomp into "drums" like a zulu tribe drunk on wild boar's blood... mr. lesh machine-guns' the intro into "good lovin'", and you can tell the crowd is fucking ELECTRIC... this is real shit. well, our favorite band is time-travelling by this point & they slam warp-speed into "the other one"... garcia's lines are mind-numbingly fast and pissed off sounding... just fucking crazy!... back into "not fade away" once more just because it HAS to happen this way (pre-ordained or something...), galloping like the 5 ton wild horse that they are, and then.... one of theee most ball-shredding "lovelight"'s that these ears have ever had the pleasure of hearing (keep in mind folks, i'm still listening to an AUD!!!(shocking but true...)... pigpen delivers like a MAN on this night, and the rest of the guys are playing like f'in studs.... a classic ending to what should be a classic show... take some time and enjoy this one. you deserve it.

show - five stars (easily...)
sound - 3.5 stars (not the best, but not even close to "unbearable" or "unlistenable")

It is an average quality recording, but more than listenable, especially considering the quality of this period in the dead's history. 1970 is a year that gets so often overlooked. 69 is over, 71 was up and down to say the least and 72...well ya know. Thing of it is, that for most of 1970 the dead were forging forward full speed ahead and playing with unbelievable ferocity everynight. This show is a good example of that. The Lovelight is big. 1970 was the best year for lovelight, hands down. And to the 3/9 poster, if you think GDP has money lying around, I have an invitation for you. It's a one week pass, to take your head out of your a** and learn a thing or two about why they did this. Did you hear Ramrod died yesterday? Did you know they had to fire him a few months back b/c they were out of money? Didn't think so.
Sound - 5.75/10
Playing - 9/10
Show - 7.5/10

Middle of the road show nothing all that impressive i dont know about the sdbs i guess a few million arent enough for those old bastards since they r now releasing these shows as digital dead on itunes for a nominal fee of $15.99 everytime anyone coughs,spits,shits grateful or dead they probably get a buck how much more money do they want now? what happened to the love of music and the encouragement of giving away a piece of it? the answers simple it was hoax, just as it always was a hoax. now they r just laughing all the way to the bank. i still love the music

to all the boards on this site?

Listened to this one last night, back porch, fire, beers. Once you listen to the music instead of the recording you will find this to be a hot show. The good lovin' smokes, the NFA ends with the boys going nuts. Worth the blanks for sure.

This is an excellent sounding room tape for the time period. Quite possibly the most epic "High Time" ever played. Check it out.

A vbr sampling indicates the sound quality is very poor and the audience's reactions clearer than the band's playing. Hanno's notes tells us that his and Ule Teute's archive of 69-70 shows is "3rd or 4th generation AUD tapes" and a generation ago these would have been very nice and valuable. But there is just much better material out today, from Dick's Picks, to this network, to http://web1.nugs.net, PtoP, etc.